The Hugo Awards were announced this weekend. There was a tie for best novel between The City & The City by China Miéville and The Windup Girl by Paolo Bacigalupi. Moon won for Best Dramatic Presentation–Long Form. Moon won in a strong field which included Star Trek, Avatar, District 9, and Up. As has been occurring quite frequently in recent years, an episode of Doctor Who won the award for Best Dramatic Presentation–Short Form.

Doctor Who has previously won three Hugo awards, all by current show runner Steven Moffat before he took his current position. In 2006 Moffat won for The Empty Child/The Doctor Dances. In 2007 he won with The Girl in the Fireplace and in 2008 for Blink. His two parter Silence in the Library Forest of the Dead received a Hugo nomination in 2008.

Last year Moffat didn’t write any episodes and instead of a regular season there were a handful of special episodes written by Russel T. Davies. Davies won withThe Waters of Mars, which beat two of his other special episodes, The Next Doctor andPlanet of the Dead. Epitaph 1 (Dollhouse) and No More Good Days (FlashForward) were also nominated in this category.

David Tennant, who played the Doctor in The Waters of Mars, will be appearing in a four-part drama entitled Single Father along with Suranne Jones. The show will air in October on BBC1.

Jane Espenson, who has worked on shows including Battlestar Galactica, Caprica, and Dollhouse, will be writing three episodes of next season’s ten episode arc. She was interviewed about her work:

How did you end up getting the writing gig? And exactly how involved are you going to be?

I’m thrilled to say I was invited. My agent told me about it very casually; I was already busy at the time, and he thought I’d want to decline, but I jumped in fast to say I absolutely wanted to participate. I will be writing three episodes of the 10-episode arc.

What’s got you most excited about it?

Working with Russell T. Davies and Julie Gardner and the others. Writing for a show I already adore, for characters and actors I already respect. Writing for a show with roots in another country—this is a new experience for me, and I’m loving it.

And is there something you’re just DYING to do or try on the show? Or something you can only do because it’s Torchwood?

I love blending tones—mixing the broadly comedic moment in with the darkly dramatic one can heighten both. Torchwood is a show that welcomes that kind of moment. I’m also really eager to play with all the culture-clash material that comes naturally out of the show’s pedigree. And I’m especially eager to write material that pushes the boundaries of what can ordinarily be done on television.

So how do you approach a show like Torchwood vs. your work on, say, Buffy or Caprica?

Because of the length of our season and the lead time before production begins, we’re actually approaching Torchwood in a very unusual way—all the episodes will be written before any of them begin shooting. This is allowing us to “break” all the episodes at once, with the entire writing staff working together in a very concentrated one-month work session. This is making for a very intense and collaborative process, all guided by Russell’s very precise vision. The final product is going to be tightly plotted and lovingly crafted.

Can you give us any juicy details? Or maybe just some slightly moist
ones? Or anything at all?

We’ve already changed the name of at least one character that was announced in the press. And there’s nothing to stop us from changing more—so if you hear anything, even if it was true at some point, it probably isn’t anymore. So the more you learn about Torchwood, the less you know.

There remains no word as to whether there will be a second episode of Caprica (beyond the second half of the first season which airs in starting in January). Contracts with the cast have been extended and there is speculation that they are waiting to see how DVD sales are since ratings were lower than anticipated.

There will be two Star Trek actors appearing on The Big Bang Theory next season. In addition to a return visit from Katee Sackhoff. George Takei will be playing himself:

In an interview, Prady explained that Wolowitz is thinking about getting back together with his ex-girlfriend Bernadette (Melissa Rauch), and it sounds as though Sackhoff and Takei will represent opposing points of view.

“George Takei plays himself, and he’s the other person guiding Wolowitz in his thoughts as he tries to figure out what to do about Bernadette,” Prady said.

Prady won’t disclose the venue for this conversation, but he ruled out a return to Wolowitz’s bathtub, where Sackhoff famously appeared last season. But Sackhoff and Takei do share some dialogue, Prady noted.

“I think they do discuss being typecast in science-fiction shows,” Prady said.

I can forgive Wil Wheaton for Wesley Crusher. After all, he was just a teenage actor reading his lines. If we weren’t told that he’s the evil Wil Wheaton from the Mirror Universe, it would be harder to forgive Wheaton for what he has done to Sheldon and, even worse, breaking up Leonard and Penny. Michael Ausiello has this news on a repeat appearance from the Evil Wil Wheaton.

It looks like Sheldon is climbing back in the ring with his longtime rival, Evil Wil Wheaton.

Big Bang Theory executive producer Bill Prady confirms to me exclusively that he wants to revive the ugly feud this season—possibly in time for November sweeps.

“We started talking about the idea of minor celebrities cutting in line,” Prady says, “and we thought it might be funny to have our [Big Bang] guys waiting in line for a one-time-only midnight screening of something like Raiders of the Lost Ark with restored footage, and Wil Wheaton and his three friends cut the line. When it comes time for our guys to get in, the line stops; Wil took the last four seats and Sheldon is just furious. Because it doesn’t make sense to him. Wil’s celebrity is not applicable here. This is not Star Trek. It’s just wrong.”